It might not have been the first-ever split, but in 1981, Motorhead teamed up with labelmates Girlschool for the St. Valentines Day Massacre EP. The former were the kings of fledgling NWOBHM label Bronze Records, having just put out Ace of Spades, while the latter was making waves as the first all-girl metal band after the release of their debut, Demolition. The early February release suited the album title perfectly, and the cover photo lives on in metal lore.
If the title, or Orgasmatron image on its cover, wasn’t enough, the foreword – in the words of Lemmy Kilmister himself – marks this coffin table eye-catcher a worthy piece of Motörhead paraphernalia. And it’s Petagno hand, after all, that gave the band’s viciously iconic mascot its unmistakable face.
“There’s nothing like the rush of adrenaline at a Motörhead show, and from my vantage point at the back of the room, watching the packed floor go off was half the fun. As soon as the song finishes, there’s barely a second’s respite, then Mikkey Dee’s giant fill tears open “Stay Clean” and the entire theater roars for the perennial classic. Thirty-two years on and the song still packs a punch. Motörhead Forever.”
Kyle Harcott reviews the February 7th show by Motörhead and Clutch at the Vogue Theater in Vancouver, BC.
Part two of Adrien Begrand’s comprehensive wrap up of Sanctuary’s deluxe Motörhead reissues, from 1983’s diamond in the rough Another Perfect Day to 1987’s not-so-great Rock N Roll.
Overkill is the album that spawned all your favorite bands. Overkill is the album that gave way to the ‘Trick Question, Lemmy IS god!’ punch line. Overkill is the album that earned Motörhead their rightful, center-throne seat as one-third of the Holy Triumvirate of Rock’n’Roll. It goes without saying, but Overkill should be mandatory listening for any child who displays even the slightest notion of interest in rock and roll, perhaps even at as early a stage as the womb. Only calling Overkill ‘essential’ is half-hearted and weak, because Overkill is the be-all, end-all of Motörhead.
Rock ‘n’ Roll suffers from being pushed out too fast, but still has a handful of solid tracks on it. This is one of the few albums I’d advise getting as a CD reissue though, the two b-sides really push the quality way up.
Literally, a “dark horse” is an unexpected or unknown victor, a competitor that defies the odds, mocks the prognosticators, and pulls off a win that nobody saw coming. While its short game may have fizzled and its medium game may have been relegated to disowned curiosity, Another Perfect Day’s long game has proven durable and significant to an extent that nobody could have anticipated.
Part 1 of a 2 part series in which Adrien Begrand reviews the 2005 Sanctuary deluxe reissues of the first four MOTORHEAD studio albums after s/t.
Minor quibbles aside, this is a great collection that features enough rarities and previously unreleased material (including a great four song Peel session from 1980 and BBC sessions from ’80 and ’86) that on musical merits alone this would be worth purchasing.
Track after track of Orgasmatron delivers everything you could expect from a Motörhead record: fuzz, the distinct, violent and sexual, cigarette ravaged vocals of Lemmy, solos to air guitar along with, groove to shake your ass to, and power to pump your fist to.